In Hollywood, it’s not uncommon for the stars to meet on set and fall in love. Usually, it’s the leading man making the leading lady swoon. But actors and actresses aren’t the only ones who wind up together. Sometimes, it’s the director who gets the girl.
Kate Beckinsale and Len Wiseman
Getty Images/Kevin Mazur
Prior to her marriage, Beckinsale had been in a relationship with actor Michael Sheen for 8 years. But on the set of Underworld in 2003, she fell for her then-married director, Wiseman. The following year they were married. All parties involved, except Wiseman’s first wife, have said there was no infidelity. The couple have remained friends with Sheen, who starred alongside Beckinsale in Underworld. Aside from that franchise, Wiseman has also cast Beckinsale in his film, Total Recall.
Judd Apatow and Leslie Mann
Getty Images/Rich Polk
These two met on the set of the 1996 comedy film, The Cable Guy, which Apatow was producing. Since their 1997 marriage, Apatow has cast his wife in: The 40-Year-Old Virgin, Knocked Up, Drillbit Taylor, Funny People, and This Is 40. Not only has his spouse appeared in his films, but their two daughters, Maude and Iris, have made it into a few films as Mann’s on-screen children.
Milla Jovovich and Paul W.S. Anderson
Getty Images/Jun Sato
This couple met on the set of Jovovich’s most popular film, Resident Evil, in 2002 which Anderson was the director and producer for. The two dated first then had a child in 2007, before getting married in 2009, all while continuing to work on the franchise that brought them together. Anderson isn’t the first director Jovovich has wed. In 1997 she married her The Fifth Element director, Luc Besson, but divorced him two years later.
Kate Capshaw and Steven Spielberg
WENN
This Texas-born actress met Spielberg when she was cast as the female lead in Indiana Jones and the Temple of Doom, the prequel to Raiders of the Lost Ark, in 1984. The two married in 1991, after Spielberg’s controversial and costly divorce from his first wife, Amy Irving.
Helena Bonham Carter and Tim Burton
WENN/Adriana M. Barraza
The pair first connected during filming Planet of the Apes in 2001. While they’ve never actually gotten married, they’ve been a couple for the last 13 years and have 2 children together. Burton is not shy from having his partner in his films; Carter has appeared in: Big Fish, Corpse Bride, Charlie and the Chocolate Factory, Sweeney Todd: The Demon Barber of Fleet Street, Alice in Wonderland, and Dark Shadows.

Cinéart
It's the beginning of the summer, which means it's time for Hollywood's biggest and brightest stars to make their way to the French Riviera for the Cannes Film Festival, while the rest of us look on with jealousy. But just because you didn't snag a ticket to the most glamorous film event of the year, that doesn't mean you can't keep up with all of the big films premiering over the next two weeks. To help you stay on top of things, we're running down the biggest films that premiered in competition at the festival, including Michel Hazanavicius' gritty follow up to The Artist, a strange, metaphorical film from Jean-Luc Godard, and a possible Palme D'Or winner.
Two Days, One Night The latest film from Cannes fixtures Jean-Pierre and Luc Dardenne, Two Days, One Night stars Oscar-winner Marion Cotillard as a woman who has one weekend to convince her co-workers to give up their annual bonuses so that she can keep her job. Assisted by her husband, played by Fabrizio Rongione, she must find someone to help her convince her boss to reconsider, and to give her another chance despite the time she had to take off for depression. The film premiered to positive reviews, and it's considered one of the frontrunners for the Palme D'Or.
"Cotillard's best work since La Vie En Rose unquestionably ranks as her most credible turn, as the actress demonstrates a fragility that never veers into the realm of overstatement. Despite its basic trajectory, her actions are littered with surprising moments, and each new co-worker she encounters adds another layer of texture to this delicate portrait of personal and professional priorities clashing with awkward results." - Eric Kohn, Variety
"The Dardennes have made a brilliant social-realist drama with a real narrative tension which is something of a novelty in their work. [...] As for this solar-panel company, it appears to have a union in that a vote has been forced which the management will abide by, but it is a union which manages and regulates the decisions of those above them, and they are certainly not united enough to reject out of hand the insidious Bonus/Sandra choice. Yet movingly, solidarity is what the film is about; solidarity is what Sandra is trying to achieve as her emotional state comes to pieces, through a majority vote in a democratic election." - Peter Bradshaw, The Guardian
The SearchAfter winning a Best Picture Oscar for The Artist, director Michel Hazanavicius went in a different direction for his follow-up, The Search. Set during the Second Chechnyan War, an NGO worker (played by Berenice Bejo) cares for an orphan boy, Hadji, who refuses to speak or open up to her in any way. Hazanavicius describes his film, which is based on the 1948 movie with Montgomery Clift, as a "picture of dignity" and "a true canvas of the suffering of humanity.”
"It’s ambitious of Hazanavicius to cram so many of war’s horrors into one film, but it makes that film a slow-moving, bloated one. And once you’ve got used to the way he cuts between three different strands, it becomes apparent that not much is actually happening in any of them. There are shockingly credible depictions of firefights and bombings, and there are more shots of corpses than you’d see in a typical zombie movie. [...] For a war movie, The Search is curiously short of conflict." - Nicholas Barber, BBC Culture
"Coincidentally quite timely in the wake of recent Russian moves on its neighbors, the writer-director’s first full-on drama attempts to present a mosaic portrait of the suffering in a region little-known or understood by the world, hence the perceived lack of concern. The result is vivid when focusing on those directly involved in the war but laborious when devoted to the fretful hand-wringing of do-gooder outsider characters, which is a lot of the time." - Todd McCarthy, The Hollywood Reporter
Joss Barratt/Sixteen Films
Jimmy's Hall Irish director Ken Loach's latest film tells the story of activist Jimmy Gralton, who was deported from the country during the Red Scare of the 1930s. Gralton was the founder of the Pearse-Connolly community hall, where people from the town gathered to learn about art, music, and literature. However, his actions upset the Catholic priests and town leaders, who opposed to his teachings and practices.
"Ken Loach has taken a despicable episode of modern Irish history — the 1933 deportation without trial of one of its own citizens, James Gralton — and made a surprisingly lovely, heartfelt film from it with Jimmy’s Hall. A thematic sequel of sorts to his Cannes-winning The Wind That Shakes the Barley, Loach’s 24th fiction feature finds the activist-minded director trafficking in familiar themes of individual liberties, institutional oppression and the power of collective organizing, here infused with a gentle romanticism that buoys the film without cheapening the gravity of its subject." - Scott Foundas, Variety
"Loach has made a sumptuous period piece, beautifully photographed by Robbie Ryan, using many local people in the crowd scenes, wearing wonderful tweeds, slipovers and wrap dresses, riding on antique bikes and in donkey-drawn carts through the green hills and boggy valleys, dancing merrily. It all looks great, a dream of Ireland before the blissful bungalows. The characterful faces are a treat too, above all that of Jimmy’s aged mum (Aileen Henry, new to acting)." - David Sexton, London Evening Standard
Goodbye To Language 3D Legendary director Jean-Luc Godard's newest project takes a relatively straightforward story - a couple reflect on their relationship, life and the world around them - and through the use of voice-over, imagery and non-linear storylines, turns it into a confusing, entrancing "film essay." Starring Heloise Godet and Kamel Abdeli, the film has been described as everything from "hilarious" to "frustrating."
"Goodbye to Language" is in 3D, and a very challenging 3D at that. The film is structured in numbered sections that repeat themselves with different or overlapping content, and there are brain-scrambling superimpositions, texts, clips from old films, solarized images, and footage shot with low-res cameras. There’s even a costume-drama sequence depicting Mary Shelley and Lord Byron. The sense of experimentation is extravagant, and the 3D effect achieves such notable depth of field that this little movie puts mainstream mega-bucks productions like "The Great Gatsby" to shame." - Barbara Scharres, Roger Ebert.com
"To some degree, the overwhelming montage taps into the over-saturation of today's media climate, a point that Godard makes explicit several times: the recurring shot of a flat-screen television broadcasting static speaks for itself, as does a more comical bit in which two strangers continually tap away on their iPhones and exchange them, repeating the action. [...] It doesn't take a lot of analysis to determine Godard's intentions: He portrays the information age as the dying breath of consciousness before intellectual thought becomes homogenized by digital advancements." - Eric Kohn, IndieWire
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DreamWorks
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody &amp; Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
DreamWorks
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody &amp; Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
3/5
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Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
3.5/5
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After Dark Films
It seems a bit odd to take on a movie review of Courtney Solomon's Getaway, as only in the loosest terms is Getaway actually a movie. We begin without questions — other than a vague and frustrating "What the hell is going on?" — and end without answers, watching Ethan Hawke drive his car into things (and people) for the hour and a half in between. We learn very little along the way, probed to engage in the mystery of the journey. But we don't, because there's no reason to.
There's not a single reason to wonder about any of the things that happen to Hawke's former racecar driver/reformed criminal — forced to carry out a series of felonious commands by a mysterious stranger who is holding his wife hostage — because there doesn't seem to be a single ounce of thought poured into him beyond what he see. We learn, via exposition delivered by him to gun-toting computer whiz Selena Gomez, that he "did some bad things" before meeting the love of his life and deciding to put that all behind him. Then, we stop learning. We stop thinking. We start crashing into police cars and Christmas trees and power plants.
Why is Selena Gomez along for the ride? Well, the beginnings of her involvement are defensible: Hawke is carrying out his slew of vehicular crimes in a stolen car. It's her car. And she's on a rampage to get it back. But unaware of what she's getting herself into, Gomez confronts an idling Hawke with a gun, is yanked into the automobile, and forced to sit shotgun while the rest of the driver's "assignments" are carried out. But her willingness to stick by Hawke after hearing his story is ludicrous. Their immediate bickering falls closer to catty sexual tension than it does to genuine derision and fear (you know, the sort of feelings you'd have for someone who held you up or forced you into accessorizing a buffet of life-threatening crimes).
After Dark Films
The "gradual" reversal of their relationship is treated like something we should root for. But with so little meat packed into either character, the interwoven scenes of Hawke and Gomez warming up to each other and becoming a team in the quest to save the former's wife serve more than anything else as a breather from all the grotesque, impatient, deliberately unappealing scenes of city wreckage.
And as far as consolidating the mystery, the film isn't interested in that either, as evidenced by its final moments. Instead of pressing focus on the answers to whatever questions we may have, the movie's ultimate reveal is so weak, unsubstantial, and entirely disconnected to the story entirely, that it seems almost offensive to whatever semblance of a film might exist here to go out on this note. Offensive to the idea of film and story in general, as a matter of fact. But Getaway isn't concerned with these notions. Not with story, character, logic, or humanity. It just wants to show us a bunch of car crashes and explosions. So you'd think it might have at least made those look a little better.
1/5
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The end of Breaking Bad is almost upon us, but the Saul Goodman spinoff is still in the works. Breaking Bad creator Vince Gilligan told TheWrap that Better Call Saul is "not a done deal yet, but it's definitely something that we're full speed ahead on trying to get going."
Breaking Bad producer Peter Gould was the one who created Bob Odenkirk's character, and he would probably run the new series. But unlike the drama it stems from, Better Call Saul might end up going in a more comedic direction. Gilligan said they still aren't sure which way they want to go with it. Either way, we can bet Saul will continue to entertain.
"We are plugging away coming up with a pitch and a take on it for the network and studio and hopefully everyone will agree that there's a really fun show to be had here," Gilligan said.
And Gilligan is really keeping his mouth shut when it comes to whether or not the new series would be a prequel or a sequel to Breaking Bad. "I have to be coy as to whether it even could be a sequel," he said. "Because you never know, when the dust settles at the end of our final eight episodes, where everybody's gonna be and who's gonna be left standing."
Well that sounds just about as ominous as it gets. Keep your head down Saul. No one wants to see you go.
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Jewel, you were meant for The Sing-Off.
The four-time Grammy Award nominee has joined Boyz II Men's Shawn Stockman and singer Ben Folds as a judge for NBC's singing competition series' recently announced fourth season. Nick Lachey will continue to turn the heat up to 98 Degrees as host of the show while singer-songwriter Jewel replaces Sara Bareilles, who took over for Nicole Scherzinger during the third season but is now stepping out to "focus on her music."
"There are very few musical artists as accomplished and talented as Jewel. Her addition to The Sing-Off judges panel, along with our stellar team of Shawn Stockman and Ben Folds, raises the showmanship of the series up another notch," said Paul Telegdy, NBC's President of Alternative and Late Night Programming. "The musical credentials of Nick Lachey are extraordinary and his continued contributions to the show as host remain a huge asset.""I am so thrilled to welcome Jewel to our expert musical panel," added executive producer Mark Burnett about the singer, who most recently starred in Lifetime's June Carter Cash biopic Ring of Fire in addition to releasing a greatest Hits album.
Here's to hoping the judge lineup is here to stay when The Sing-Off returns in December, because let's be real... these foolish changes are tearing us apart.
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Paul Giamatti has joined the cast of Downton Abbey for season 4 as the playboy brother of Elizabeth McGovern's Lady Grantham. The fourth season will air on PBS beginning January 5, 2014.
The period drama showcases a very English way of life, and Giamatti, like Shirley MacLaine before him in Season 3, will play an ugly American relative of those well put-together English folks. Giamatti's character is described by the show's producers as being "rather free-spirited" and "sure to upset the Granthams' apple cart." in this year's finale.
Giamatti won an Emmy in 2008 for his role as the president in HBO's John Adams. He's also been nominated for a number of other awards, including an Oscar for his role in Cinderella Man.
You can also see him next summer as the Rhino in The Amazing Spider-Man 2.
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The latest installment in the new USA show Graceland was as action-packed as ever. Last week's cliffhanger left us on the edge of our seats, as FBI Special Agent Paul Briggs pointed a gun at newcomer Mike Warren's head, demanding "Who have you been talking to?" Thursday night's episode picks up right where we left off.
Like Brando With Briggs' gun pressed against Mike's temple, we can't help but worry that he has discovered his rookie agent's secret assignment. We soon learn, however, that it's all part of an act to keep their cover. Bello is pretty pissed about his stolen ammunition and suspects that there is a traitor in his midst. Briggs pretends to accuse Mike, and Mike calmly talks his way out of the blame, deflecting it onto Eddie. Ultimately, the boys manage to escape with their lives, they share a nice Perks Of Being A Wallflower moment in the speeding car, and Briggs still does not know that he is the subject of an internal investigation. He even praises Mike for his acting abilities.
Deep Pockets Mike meets with Juan to discuss his reports on Briggs, which are apparently too skimpy on the details. Mike says he might be able to spend more time on his reports if he didn't live in such close quarters with the man he's secretly investigating. Juan suggests that he go to Starbucks, and if anyone asks, to say that he's working on a "screenplay about a man's quest to make it back home to D.C." Thus, Juan continues to capitalize on Mike's dream of returning to the capital. We also learn some new information, as Juan suggests that Briggs is under investigation for stealing money.
Undercover Dating Later in the episode, the Graceland crew goes out to a bar, where they explain to Mike "the subtleties of undercover dating." Once again, we hear the all-important mantra of "You cannot break your cover!", and it turns out that the agents handle this by making up fake careers to tell to their romantic interests. "I'm like a chocolate Jesus," says DJ of his musician alias, but our favorite fake profession is Briggs': an astronaut. After failing to pick up a woman with his golfer alias, Mike decides to be his real self. He subsequently meets and spends the night with a smart, beautiful woman who also happens to be from the D.C. area. While they're out at the bar, Mike also takes advantage of the opportunity to gather some information about Briggs' finances. We're pretty impressed with his ingenuity as he presses his hand on Brigg's credit card to make an indentation of the numbers, which he then photographs with his cell phone.
In the Dollhouse Charlie works on a case with a meth addict CI named Whistler. On the verge of being kicked out of his sister's house, Whistler is hard up for money, and he almost botches the drug bust in his attempt to renegotiate the price. Seeing his talent for carpentry in the dollhouse that he builds for his niece, Charlie helps Whistler find a nice fixer-upper that he can buy with his final $100,000 check from the government. At the end of the episode, we learn that he didn't end up taking the house, but we have a feeling this isn't the last we'll see of Whistler.
Bye Bye Lauren This episode also marks the departure of Lauren. Distraught over Donnie's reassignment to Miami, she becomes determined to take down the Russian mafia boss Kuzmanov. Ultimately, her quest for revenge leads her to disobey orders and almost blow her DEA cover. When a GPS tracker planted by the Russians is discovered on Lauren's car, she is forced to leave Graceland and relocate elsewhere. Maybe she'll even be reassigned to Miami, so she can reunite with Donnie.
The Twist While checking out Briggs' credit card statements, Mike finds out that the GPS tracker on Lauren's car was not from the Russians after all. When he confronts Briggs about the setup, the agent is honest and does not deny that he planted the tracker. Lauren had become to reckless, and her behavior was a threat to the house. Paul Briggs may still be a bit of a mystery to us, but he's made it clear that there's nothing he won't do to protect Graceland.
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